The interplay between digital platforms and user-generated content in reinterpreting and recreating mythological narratives with traditional Chinese cultural elements: the animated series Yao-Chinese Folktales

AbstractThis paper critically unpacks the reinvigoration of mythological narratives with traditional Chinese cultural elements on 哔哩哔哩Bilibili using the animated series 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’, specifically focusing on the narrative 小妖怪的夏天 Xiao Yaoguai De Xiatian ‘Nobody’ (Lit. ‘A Little Monster’s Summer’) as the case study. The article explores Bilibili’s unique digital ecosystem and user-generated content, shedding light on how they shape the reinterpretation and recreation of narratives with traditional Chinese cultural elements. An in-depth analysis is conducted on various fan-maderecreations, from alternative endings to fan videos, critically examining how audiences connect with ‘Nobody’ through nostalgic personal memories, societal commentary and creative expression. This study seeks to reconcile the divide between participatory culture and mythological storytelling. By doing so, it underscores the significant role that digital platforms, like Bilibili, play in reinvigorating narratives with traditional Chinese cultural elements. The research findings unveil innovative insights beneficial for stakeholders seeking to gain traction in the Chinese market through culturally attuned content. More than just underlining the transformative influence of these digital platforms, the study also contributes to the ongoing discourse on the need for more diverse narratives in global storytelling, as opposed to the ‘universal’ paradigms centred on the Hero’s Journey perpetuated from the West. Ultimately, this article provides a nuanced understanding of the elements that resonate with audiences within the Chinese sociocultural context.Keywords: Bilibiliuser-generated contentnarratives with traditional Chinese cultural elementsreinterpretationrecreationstorytellingcultural resonancedigital platforms Disclosure statementThe authors confirm that there is no conflict of interest.Notes1 See above for our detailed explanation of the Bilibili platform.2 All comments in this paper are translated from Chinese into English by the authors.3 PUA, an acronym for Pick-up Artist, originally denotes heterosexual men’s self-identification for being sexually successful with women (Strauss Citation2005; Baker Citation2013). The concept of PUA was imported into China in the 2000s, whereas it subsequently degenerates into to conduct exclusively intent on sexual intercourse and even emotionally manipulative techniques annihilating women’s self-esteem (Xu and Yao Citation2019; Zhou Citation2019; Zhao and Lu Citation2021). In a workplace context, PUA is synonymous with exploitation, bullying and suppression, and sometimes emotional abuse in a broad sense.Additional informationNotes on contributorsAiqing WangDr. Aiqing Wang is a Senior Lecturer at the University of Liverpool. Her works have appeared in journals such as Global Media and China and Asian Studies.Thomas William WhykeDr. Thomas William Whyke is an Assistant Professor at the University of Nottingham Ningbo China. His works have appeared in journals such as Journal of Homosexuality, Sexuality and Culture, Animation, Global Media and China, Feminist Media Studies, Humanities and Social Sciences Communications, and Asian Studies.Levi DeanDr. Levi Dean is an Assistant Professor at the University of Nottingham Ningbo China. His works have appeared in journals such as The Journal of Screenwriting and New Writing.